What on earth, too, does he mean by Bruno's "great obscurity" when he returned to Italy and fell into the jaws of the Inquisition? Every scholar in that age was more or less obscure, for the multitude was illiterate, and sovereigns and soldiers monopolised the public attention. But as notoriety then went, Bruno was a famous figure. Proof of this will be given presently. Meanwhile we may notice the cheap sneer at Bruno as "a social and literary failure." Shelley was a literary failure in his lifetime, but he is hardly so now; and if Bruno was poor and unappreciated, Time has adjusted the balance, for after the lapse of three centuries he is loved and hated by the rival parties of progress and reaction.
Now let us disprove the Scotch libeller's statements as to "the extreme obscurity in which Giordano Bruno lived and died." Bruno was so "obscure" that he fled from Naples, and doffed his priest's raiment, at the age of twenty-eight or twenty-nine, because his superiors were proceeding against him for heresy, through an act of accusation which comprised no less than one hundred and thirty counts. He was so "obscure" that the rest of his life was a prolonged flight from persecution. He was so "obscure" that the Calvinists hunted him out of Geneva, whence he narrowly escaped with his life; the documents relating to the proceedings against him being still preserved in the Genevan archives. He was so "obscure" that he took a professorship at Toulouse, and publicly lectured there to large audiences for more than a year. He was so "obscure" that King Henry III. made him professor extraordinary at Paris, and excused him from attending Mass. He was so "obscure" that the learned doctors of the Sorbonne waxed wroth with him, and made it obvious that his continued stay in Paris would be dangerous to his health. He was so "obscure" that he lived for nearly three years as the guest of the French ambassador in London. He was so "obscure" that he was known at the court of Elizabeth. He was so "obscure" that he was a friend of Sir Philip Sidney, and an intimate associate of Dyer, Fulk Greville, and the chief wits of his age. He was so "obscure" that he was allowed, as a distinguished foreigner, to lecture at Oxford, and to hold a public disputation on the Aristotelian philosophy before the Chancellor and the university. He was so "obscure" that on his return to Paris he held another public disputation under the auspices of the King. He was so "obscure" that his orations were listened to by the senate of the university of Wittenberg. He was so "obscure" that he was publicly excommunicated by the zealot Boethius. He was so "obscure" that the Venetian Inquisition broke through its stern rule, and handed him over as a special favor to the Inquisition of Rome. He was so "obscure" that he was at last "butchered to make a Roman holiday," the cardinals having presided at his trial, and his sentence being several pages at length. Such was "the obscurity in which Giordano Bruno lived and died."
The Scotch libeller hints that Bruno was not burnt after all. He forgets, or he is ignorant of the fact, that all doubt on that point is removed by the three papers discovered in the Vatican Library. He merely repeats the insinuation of M. Desduits, which has lost its extremely small measure of plausibility since the discovery of those documents. The martyrdom of Bruno is much better attested than the Crucifixion. There always was contemporary evidence as well as unbroken tradition, and now we have proofs as complete as can be adduced for any event in history.
From the documentary evidence it is clear that Bruno fought hard for his life, and he would have been a fool or a suicide to have acted otherwise. He bent all his dialectical skill, and all his subtle intellect, to the task of proving that religion and philosophy were distinct, and that so long as a scholar conformed in practice he should be allowed the fullest liberty of speculation. The Inquisition, however, pretends that he abjured all his errors, and the Scotch libeller is pleased to say he recanted. But, in that case, why was Bruno burnt alive at the stake? According to the laws of the Inquisition, all who reconciled themselves to the Church after sentence were strangled before they were burnt. And why was Bruno allowed a week's grace before his execution, except to give him the opportunity of recanting? Despite all this Jesuitical special pleading, the fact remains that Bruno was sentenced and burnt as an incorrigible heretic; and the fact also remains that when the crucifix was held up for him to kiss as he stood amidst the flames, he rejected it, as Scioppus wrote, "with a terrible menacing countenance." Not only did he hurl scorn at his judges, telling them that they passed his sentence with more fear than he heard it; but his last words were that "he died a martyr and willingly"—diceva che moriva martire et volontieri.
Bruno is further charged by the Scotch libeller with servility, an accusation about as plausible as that Jesus Christ was a highwayman. A passage is cited from Bruno's high-flown panegyric on Henry III. as "a specimen of the language he was prepared to employ towards the great when there was anything to be got from them." Either this writer is ineffably ignorant, or his impudence is astounding. In the first place, that was an age of high-flown dedications. Look at Bacon's fulsome dedication of his Advancement of Learning to James I. Nay, look at the dedication of our English Bible to the same monarch, who is put very little below God Almighty, and compared to the sun for strength and glory. In the next place, Bruno's praise of Henry III. was far from mercenary. He never at any time had more than bread to eat. He was grateful to the King for protection, and his gratitude never abated. When Henry was in ill repute, Bruno still praised him, and these panegyrics were put into one of the counts against "the heretic" when he was arraigned at Venice.
The last libel is extorted from Bruno's comedy, Il Candelajo. The Scotch puritan actually scents something obscene in the very title; to which we can only reply by parodying Carlyle—"The nose smells what it brings." As for the comedy itself, it must be judged by the standard of its age. Books were then all written for men, and reticence was unknown. Yet, free as Il Candelajo is sometimes in its portrayal of contemporary manners, it does not approach scores of works which are found "in every gentleman's library." It certainly is not freer than Shakespeare; it is less free than the Song of Solomon; it is infinitely less free than Ezekiel. Nor was the comedy the work of Bruno's maturity; it was written in his youth, while he was a priest, before he fell under grave suspicion of heresy, and we may be sure it was relished by his brother priests in the Dominican monastery. To draw from this youthful jeu d'e'sprit, a theory of Bruno's attitude towards women is a grotesque absurdity. We have his fine sonnets written in England, especially the one "Inscribed to the most Virtuous and Delightful Ladies," in which he celebrates the beauty, sweetness, and chastity of our English "spouses and daughters of angelic birth." Still more striking is the eulogy in his "Canticle of the Shining Ones." Bruno, like every poet, was susceptible to love; but he was doomed to wander, and the affection of wife and babes was not for him. So he made Philosophy his mistress, and his devotion led him to the stake. Surely there was a prescience of his fate in the fine apostrophe of his Heroic Rapture—"O worthy love of the beautiful! O desire for the divine! lend me thy wings; bring me to the dayspring, to the clearness of the young morning; and the outrage of the rabble, the storms of Time, the slings and arrows of Fortune, shall fall upon this tender body and shall weld it to steel."
KIT MARLOWE AND JESUS CHRIST. *
* December, 1888.
Christopher Marlowe, whose "mighty line" was celebrated by Ben Jonson, is one of the glories of English literature. He was the morning star of our drama, which gives us the highest place in modern poetry. He definitively made our blank verse, which it only remained for Shakespeare to improve with his infinite variety; and although his daring, passionate genius was extinguished at the early age of twenty-nine, it has reverent admirers among the best and greatest critics of English literature. Many meaner luminaries have had their monuments while Marlowe's claims have been neglected; but there is now a project on foot to erect something in honor of his memory, and the committee includes the names of Robert Browning and Algernon Swinburne.